1. Before starting a painting, how important is it to know your light source?
Very important. Before starting a painting, you need to have an idea of where your light is coming from in order to give yourself an image of what you are striving for. You may want to keep your background a little lighter in the area where your light would be entering your design, especially on a stained background. Your light source must stay consistent throughout your design.
2. Is there a certain color scheme that is preferred for the stroke category?
No. You can use any color scheme that you would use in any of the other categories.
3. Can you teach a passing Certification design?
No. These designs have been created for the Certification Program and may not be taught.
4. When adding leafing to the floral design, must you keep it within the border, or can you add some within your design?
No. You must keep it within the border area.
5. What category must be painted on a stained background?
The MDA Still Life. You may stain the background of the other categories as well, but the MDA Still Life must be on a stained background.
6. If you choose to stain (antique) your leafing on your floral design, must you still see evidence that it was leafed?
Yes, you must be able to see signs of the edges of the torn leafing.
7. Can you make a tendril longer or shorter than it is drawn in the design?
No. A tendril should be close to the same length as it is drawn in the design. The judges will not measure it to be sure that it is the exact length, but it should have the appearance of being the same length (as well as the same shape). The most important part is that it flows gracefully without any flat areas.
8. What does it mean when your critique reads that you have “overblended”?
It means that your object does not show three values and looks overworked. When you overblend, your object will appear flat from the lack of three values.
9. What does it mean when your critique reads that you have “underblended”?
Underblending means that you can see a line or the area where one value goes to the next.
10. When you are painting a design with one apple in it and you want to make that apple red, how important is it that you have some other items in the design red?
Very important. You must establish color balance in your design by carrying your colors throughout the painting.
11. Can you sign your painting before or after it has been judged?
Only after. There must not be any recognizing marks on your design before it is judged or it will be disqualified.
12. Is it necessary to have three values in a shadow?
Yes. A shadow will be the darkest next to the object that is casting the shadow and fade as it gets farther away from the object.
13. Where does the darkest part of a shadow lie?
Closest to the object that is casting the shadow.
14. Where does the Certification Program get its designs?
From the Certification Design Committee that meets every four years.
15. What does it mean when your critique reads that a “certain color causes your eye to bounce back and forth to that color”?
This comes partly from the loss of balance, but it is also due to loss of harmony. When color is balanced, your eye will flow smoothly through the painting without having to skip over large portions of it or bounce back and forth from one color to another. The eye will go first to the center of interest, then flow through the painting, and back to the center of interest without interruption. When your eye bounces back and forth between two colors, the colors create a disturbance within the design and a loss of harmony. Remember that the stroke category does not need a center of interest, but the eye should still flow smoothly throughout the painting.